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On the occasion of the twenty-fifth anniversary of its first publication, here is the definitive edition of the book acclaimed as "the most affecting and successful narrative ever done about the Holocaust" (Wall Street Journal) and "the first masterpiece in comic book history" (The New Yorker). The Pulitzer Prize-winning Maus tells the story of Vladek Spiegelman, a Jewish survivor of Hitler's Europe, and his son, a cartoonist coming to terms with his father's story. Maus approaches the unspeakable through the diminutive. Its form, the cartoon (the Nazis are cats, the Jews mice), shocks us out of any lingering sense of familiarity and succeeds in "drawing us closer to the bleak heart of the Holocaust" (The New York Times). Maus is a haunting tale within a tale. Vladek's harrowing story of survival is woven into the author's account of his tortured relationship with his aging father. Against the backdrop of guilt brought by survival, they stage a normal life of small arguments and unhappy visits. This astonishing retelling of our century's grisliest news is a story of survival, not only of Vladek but of the children who survive even the survivors. Maus studies the bloody pawprints of history and tracks its meaning for all of us.

The author-illustrator traces his father's imprisonment in a Nazi concentration camp through a series of disarming and unusual cartoons arranged to tell the story as a novel

Some of the most noteworthy graphic novels and comic books of recent years have been entirely autobiographical. In Graphic Subjects, Michael A. Chaney brings together a lively mix of scholars to examine the use of autobiography within graphic novels, including such critically acclaimed examples as Art Spiegelman’s Maus, David Beauchard’s Epileptic, Marjane Satrapi’s Persepolis, Alan Moore’s Watchmen, and Gene Yang’s American Born Chinese. These essays, accompanied by visual examples, illuminate the new horizons that illustrated autobiographical narrative creates. The volume insightfully highlights the ways that graphic novelists and literary cartoonists have incorporated history, experience, and life stories into their work. The result is a challenging and innovative collection that reveals the combined power of autobiography and the graphic novel.

Beyond Art Spiegelman’s MAUS, there is a plethora of Holocaust comics that is waiting to be discovered.

The author-illustrator traces his father's imprisonment in a Nazi concentration camp through a series of disarming and unusual cartoons arranged to tell the story as a novel.

Review: "This encyclopedia offers an authoritative and comprehensive survey of the important writers and works that form the literature about the Holocaust and its consequences. The collection is alphabetically arranged and consists of high-quality biocritical essays on 309 writers who are first-, second-, and third-generation survivors or important thinkers and spokespersons on the Holocaust. An essential literary reference work, this publication is an important addition to the genre and a solid value for public and academic libraries."--"The Top 20 Reference Titles of the Year," American Libraries, May 2004.

This volume focuses on the relationship between time, narrative and the fixed image. As such, it highlights renewed interest in the temporality of the fixed image, probably one of the most important trends in the formal and semiotic analysis of visual media in the past decade. The various essays discuss paintings, the illustrated covers of books, comics or graphic novels, photo-stories, postcards, television and video art, as well as aesthetic practices that defy categorization such as Chris Marker’s masterpiece La Jetée. The range of works and practices examined is reflected in the different theoretical approaches and methods used, with an emphasis on semiology and narratology, and, to a lesser extent, aesthetics and psychoanalysis. The interest of this book, however, does not stem exclusively from the range and scope of the artefacts examined, or the methodological issues that are addressed; its fundamental importance rests in the contributors’ readiness to question the differentiation between fixed and moving images which all too often provides a convenient, if not altogether convincing, starting point for image analysis. . The originality and value of the contribution that Time, Narrative and the Fixed Image/Temps, Narration et image fixe makes to the body of theoretical writing on visual media lies in this challenging and comprehensive approach.

The Holocaust represents an immense historical as well as a cultural trauma. The following thesis talks about the trauma symptoms and the behavior of Holocaust victims, including a broad selection of scholarly research on the Holocaust aftermath. Afterwards, features of postgeneration art will be presented in detail, as second generation literature and art mirrors the depression and horrid state of the mind of survivors. By analyzing Art Spiegelmann’s “The Complete Maus” and Helen Fremont's "After Long Silence" this thesis aims at portraying the degree of traumatization as well as the extent to which the second generation is affected by the traumatic experiences of the parents ́ lives. Contents: - Symptoms of psychological trauma and behavior, - Recovery and the Necessity of a Story, - Direct and Indirect Trauma, - The Concept of Postmemory: Familial Transmission of Trauma, - The Silence of the First Generation.